Operagasm Exclusive: Fingers Crossed for CU’s Figaro!
by Sarah Wigley Johnson
If you are reading this review, chances are you have experienced Mozart’s masterpiece Le nozze di Figaro at some point in your musical past. Whenever a production of this magnitude in historical significance and popularity arises, the audience member undoubtedly has expectations for each character, each comedic and tender moment; each aria. We are crossing our fingers that “Se vuol ballare” is cunning and playful, we’re holding our breath in hopes that “Dove sono” may be filled with effortless legato, and we desperately want to adore Cherubino’s adolescent charm before the first downbeat of the orchestra is audible.
Although the seduction, farce, and sensitivity of timeless themes revolving fidelity and marriage have kept this work of genius alive since 1786, the sophistication and sheer complexity of this work prove to be a challenge for many universities and professional companies worldwide. Fortunately, the University of Colorado again puts its mark on the operatic map with this fall’s production, enveloping the intricacies of this glorious score while tackling the extensive plot with confidence and finess. Visually sensual and extraordinarily detailed both vocally and dramatically, this Le nozze di Figaro leaves the audience member feeling as though he or she has just had an eight course dinner; tantalized and so happily satiated.
Perhaps one of the most impressive aspects of this production is the astounding talents of the orchestra, led by Nicholas Carthy. From the first Mozartian cadence, a sense of sincere eminence cascades through the auditorium. Although the cast is almost entirety of a professional caliber, the two standout performances of the afternoon were those of Wei Wu (Figaro) and Meagan Mahlberg (Countess Almaviva).
Wei Wu’s booming baritone easily floods over the thick orchestrations with a consistency and specificity that is to be savored whether recitative or aria. Wu understands the delicate balance of Figaro’s sharp humor and masculinity mixed with warmth and sensitivity, tackling the hefty amount of Italian recitative with ease and polish.
The vocal splendor of Meagan Mahlberg is worth the three-and-a-half hour time investment in and of itself. A gorgeous chiaroscuro tambre mixed with miles and miles of legato phrasing won us over within the first few measures of “Porgi, amor.” Meagan exhibits effortless singing at its best; robust and clear with nuances that enhance rather than distract.
Cherubino (Jessica Beran) absolutely deserves mention as an inspired performance. Her abounding boyishness and energy endeared as she handled both “non so piú” and “voi che sapete” with first-rate artistry and confidence. Jessica fearlessly established the equilibrium between Cherubino’s playful innocence and sensuality while managing to portray the famous pants role without the temptation to over-emphasize a masculine physicality.
While Wu, Mahlberg, and Beran flooded Macky Auditorium with vigor, the role of Susanna (Jessi Goebel) was nearly inaudible for half of the production. Although crystal-clear and quite exquisitely displayed in “Deh Viene,” Goebel’s voice ceased to be heard over the orchestra upon phonation in the low to mid-register, and was audibly drowned by her cast mates where ensemble singing is regarded.
The word “sensuality” constantly appears in regards to this production, whether in the actual marketing of the show or the mind of the viewer. The creative team of Peter Dean Beck (set and lighting designer) and Tom Robbins (costumer) demands acknowledgment for the absolutely sumptuous production elements. True to period costuming, each piece was well-crafted and ornate with features. A truly breathtaking moment appeared in the top of act two as the curtain parts to the Countess’ boudoir, softened by a curtain of sheer whiteness draped across the proscenium and the soft light from upstage glistening down before the first notes of “Porgi, amor.” Bravo, Leigh Holman, for paving the way to such a delightful production of excellence. My fingers had no need to be crossed, for expectations were definitely exceeded.
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Sarah Johnson serves as voice faculty for the Musical Theatre department at the University of Northern Colorado along with upholding a studio at Parlando School for the Arts in Boulder, Colorado. Sarah holds an MM in Voice Performance from Colorado State University and a BM in Voice from the University of Minnesota. While residing in Minneapolis, Johnson performed leading roles with the U of M while working professionally with regional companies such as the Guthrie Theatre, the North Star Opera, the Mystery Cafe, the Minnesota Centennial Showboat, and the Minnesota Opera. In 2007 Sarah had the privilege of performing in the Minnesota Opera’s world premiere of “The Grapes of Wrath” by Ricky Ian Gordon, also contributing to the original cast recording of this breakthrough piece. Sarah has an extensive and dynamic background in musical theater and opera, performing such roles as Maria in West Side Story, Sarah Brown in Guys and Dolls, Aldonza in Man of LaMancha, Rose in Street Scene, and Zerlina in Don Giovanni. Johnson has most recently been seen onstage at the Candlelight Dinner Theatre (Clue- The Musical and Oliver!) as well as the Aurora Fox (The Wild Party) and the Cleo Parker Robinson Theatre (Jekyll and Hyde).
